Works as a sort of sibling film to Ghost in a way. But this time, Ito is less interested in how spaces seem to us to physically reproduce their past inhabitants, and more in how that sense is limited and decays over time. Ito’s document of father-son bonding is deliberately obscure; an approximation of unattainable tactility. Nostalgic but revealingly bittersweet.
Leave it to Rob Zombie to give us a manic, gory cop revenge movie that treats its protagonist like the serial killer he’s built to be. If 1000 Corpses is a deep-dive into America’s working class fetishization in spite of the actual American dream of wealth, Rejects shows us the violent resolution of this hypocrisy. The colorful, dizzying escape of the circus ends with a step back into a harsh reality.
The family at the center of these films live in a world seemingly of…
This review may contain spoilers. I can handle the truth.
Oof. Started out hopeful on this! Aster is admittedly talented at sculpting tone and establishing characters with interestingly distinct and contradictory traits. Midsommar begins by feeling out these foundational details through genuinely strong performances, even in moments of wordless tension. The Bergman comparisons are warranted here, I suppose, but replicating tone doesn’t mean creating insight.
Our starting point: Dani has experienced intense loss. She looks to her boyfriend, someone who’s supposed to love her, for support. The guy’s a shitty partner: inattentive, uncaring, self-centered. She…